Search Results

Manufactured by:

Unidentified  Search this

RAT Distortion, American, founded 1978  Search this

Electro-Harmonix, American, founded 1968  Search this

MXR, American, founded 1972  Search this

Owned by:

Vernon Reid, American, born 1958  Search this

Subject of:

Living Colour, American, founded 1984  Search this

Medium:

plywood, plastic, adhesive, metal and plastic

Dimensions:

H x W x D: 24 × 18 × 3 in. (61 × 45.7 × 7.6 cm)

Type:

equipment for music

Place made:

Kalamazoo, Kalamazoo County, Michigan, United States, North and Central America

New York City, New York, United States, North and Central America

Rochester, Monroe County, New York, United States, North and Central America

Date:

ca. 2002

Topic:

African American  Search this

Instrumentalists (Musicians)  Search this

Rock and roll (Music)  Search this

Singers (Musicians)  Search this

Credit Line:

Collection of the Smithsonian National Museum of African American History and Culture, Donated by Vernon Reid

Object number:

2021.92.3

Restrictions & Rights:

No known copyright restrictions

Proper usage is the responsibility of the user.

See more items in:

National Museum of African American History and Culture Collection

Classification:

Musical Instruments

On View:

NMAAHC (1400 Constitution Ave NW), National Mall Location, Concourse, C 050

Data Source:

National Museum of African American History and Culture

GUID:

http://n2t.net/ark:/65665/fd51d8683ef-db59-4c7d-9757-36fd3586a8b1

EDAN-URL:

edanmdm:nmaahc_2021.92.3

Created by:

Civil Rights History Project, American, founded 2009  Search this

Interview of:

Rev. Dr. Samuel Berry McKinney, American, born 1926  Search this

Interviewed by:

David P. Cline Ph. D., American, born 1969  Search this

Subject of:

Dr. Martin Luther King Jr., American, 1929 - 1968  Search this

United States Army Air Corps, American, 1926 - 1947  Search this

Morehouse College, American, founded 1867  Search this

Liberty Bank, American, 1968 - 1988  Search this

Central Area Civil Rights Committee (CACRC), American, founded 1963  Search this

Medium:

digital

Dimensions:

Duration: 1 hr., 48 min., 53 sec.

Total: 172.95 GB

Type:

video recordings

oral histories

digital media - born digital

Place collected:

Seattle, King County, Washington, United States, North and Central America

Place depicted:

Cleveland, Cuyahoga County, Ohio, United States, North and Central America

Date:

April 17, 2013

Topic:

African American  Search this

Activism  Search this

American West  Search this

Associations and institutions  Search this

Christianity  Search this

Civil Rights  Search this

Education  Search this

HBCUs (Historically Black Colleges and Universities)  Search this

Military  Search this

Religion  Search this

Social reform  Search this

U.S. History, 1953-1961  Search this

U.S. History, 1961-1969  Search this

World War II  Search this

Credit Line:

Collection of the Smithsonian National Museum of African American History and Culture in partnership with the American Folklife Center, Library of Congress

Object number:

2011.174.85.1a-g

Restrictions & Rights:

© Smithsonian National Museum of African American History & Culture and The American Folklife Center, Library of Congress

Permission required for use. Proper usage is the responsibility of the user.

See more items in:

National Museum of African American History and Culture Collection

Collection title:

Civil Rights History Project

Classification:

Media Arts-Film and Video

Movement:

Civil Rights Movement

Data Source:

National Museum of African American History and Culture

GUID:

http://n2t.net/ark:/65665/fd5efd2baf7-d61f-4585-ba6f-e5f3f21baa12

EDAN-URL:

edanmdm:nmaahc_2011.174.85.1a-g

Creator:

National Museum of African American History and Culture (U.S.)  Search this

Extent:

825 Digital files

Type:

Collection descriptions

Archival materials

Digital files

Home movies

Date:

1940 - Ongoing

Summary:

The Great Migration is a unique, ongoing digitization service program that partners the National Museum of African American History and Culture with individuals across the United States to preserve their important analog audiovisual media.

While major motion picture film and television historically lacked diverse representation, black history was instinctively being preserved in everyday home movies. Today, these personal narratives serve as an invaluable tool for understanding and re-framing black moving image history, and provide a much needed visualization of African American history and culture.

Scope and Contents:

The collection contains 825 digitized audiovisual media objects. However, as an ongoing project the scope of the collection will continue to increase over time. The scope will be updated as is appropriate.

The content of the collection consists predominantly of amateur recordings created by families to document their lives. This includes major life events, such as birthdays and weddings, quotidian life, as well as family vacations and holidays.

Arrangement:

The collection is arranged into file, and item-level records. Each file corresponds to a family that has participated in the Great Migration program. Each item within a file corresponds to a single piece of audiovisual media, such as a film or videotape, digitized by NMAAHC staff.

Provenance:

NMAAHC creates and retains digital copies, 2016-[ongoing]. Original analog materials are not retained by the museum.

Restrictions:

Collection is available online for open research.

Rights:

The Great Migration Home Movie Study Collection is a product of and owned by the National Museum of African American History and Culture, Smithsonian Institution.

Copyright for all works are retained by the creators of the original analog materials.

The contents of the Great Migration Home Movie Project are made available to the public for the purposes of education and scholarly research. The home movies digitized through the project are not available for commercial licensing. Educational and scholarly use may be considered on an individual basis.

Topic:

Amateur films  Search this

Families  Search this

Travel  Search this

Parties  Search this

African Americans  Search this

Genre/Form:

Home movies

Citation:

Collection of the Smithsonian National Museum of African American History and Culture, Earl W. and Amanda Stafford Center for African American Media Arts. Supported by the Center for the Digitization and Curation of African American History.

Sponsor:

This project receives support from the Earl W. and Amanda Stafford Center for African American Media Arts and from the Center for the Digitization and Curation of African American History at the National Museum of African American History and Culture Museum, Smithsonian Institution.

Identifier:

NMAAHC.SC.0001

See more items in:

Great Migration Home Movie Study Collection

Archival Repository:

National Museum of African American History and Culture

GUID:

https://n2t.net/ark:/65665/io3786d2f8e-8023-41b8-a2cf-1ef950fc185d

EDAN-URL:

ead_collection:sova-nmaahc-sc-0001

Creator:

Moore, Harry T., 1905-1951  Search this

Moore, Harriette V., 1902-1952  Search this

Names:

Bethune-Cookman College (Daytona Beach, Fla.)  Search this

Florida Normal and Industrial Memorial College (Saint Augustine, Fla.)  Search this

National Association for the Advancement of Colored People  Search this

Pittsburgh Courier (newspaper)  Search this

Progressive Voters League  Search this

Baker, Ella, 1903-1986  Search this

Bethune, Mary McLeod, 1875-1955  Search this

Caldwell, Millard Fillmore, 1897-1984  Search this

Current, Gloster B. (Gloster Bryant), 1913-1997  Search this

Gilbert, John  Search this

Hendricks, Joseph Edward, 1903-  Search this

Holland, Spessard L. (Spessard Lindsey), 1892-1971  Search this

Houston, Charles Hamilton, Dr., 1895-1950  Search this

Humphrey, Hubert  Search this

Kennedy, Stetson  Search this

Marshall, Thurgood, 1908-1993  Search this

Mathews, John E., 1892 - 1955  Search this

Moore, J. Evangeline, 1930-2015  Search this

Warren, Fuller, 1905-1973  Search this

Watson, J. Thomas, 1885 - 1954  Search this

White, Walter, 1893-1955 (President, N.A.A.C.P)  Search this

Williams, Franklin Hall, 1917 - 1990  Search this

Extent:

1 Cubic foot

Type:

Collection descriptions

Archival materials

Correspondence

Place:

United States of America -- Florida -- Brevard County -- Cocoa

United States of America -- Florida -- Lake County -- Groveland

United States of America -- Florida -- Brevard County -- Mims

United States of America -- Florida -- Brevard County

United States of America -- Florida -- Brevard County -- Titusville

United States of America -- Florida -- Seminole County -- Sanford

Date:

bulk 1945-1949

Summary:

Harry T. Moore was a pioneering civil rights activist, educator, and civic leader. The collection was originally housed in a formerly "lost" briefcase that was found in 2006 by FBI investigators. The materials in this collection focus on his activities as a civil rights activist and community leader who sought to advocate for pay equity, voting rights, and justice reform for African American communities in Florida. Harry Moore and his wife Harriette were murdered for their work and they have been immortalized as the Civil Rights Movement's first martyrs.

Scope and Contents:

The Harry T. and Harriette V. Moore Archival Collection chronicles Harry Moore's career in civil rights and education that ultimately led to his and his wife's murder. The materials in this collection were originally located in Harry T. Moore's briefcase and are dated from 1942 to 1949. The collection contains correspondence, memoranda, business records, ephemera, and newspaper clippings. The bulk of the material reflects Moore's work as a community leader working with the National Association for the Advancement of Colored People (NAACP) and the Progressive Voters League (PVL). The materials include original typed correspondence to and from Harry T. Moore as well as mimeographed letters that were saved for recordkeeping purposes.

The briefcase and Moore's wallet (part of the NMAAHC Collection) were found by Harriette Moore's brother, George Simms, after the firebombing of the Moore's home on Christmas night in 1951. Both were given to the local authorities for the investigation. The briefcase was lost during the initial 1951-1952 investigations. It was found in 2006 by FBI Investigators in a barn close to the Moore's former home. The investigation was closed the same year and the briefcase and its contents were returned to the family. J. Evangeline Moore served as the steward of the collection, lending out materials to various organizations, journalists, writers, and filmmakers over the years to educate the masses about her father's work and her parents' legacy. This work continued until her death in 2015. This collection and related Moore family heirlooms were donated to the National Museum of African American History and Culture in 2013 and 2018, respectively.

Arrangement:

This archival collection does not include all the materials originally located in the briefcase. Materials from this collection were used during investigations as well as historical displays, documentaries, and various educational presentations. Research revealed that various materials were misplaced or lost. The FBI investigators originally located the briefcase in 2006 and they organized and rehoused the materials for better preservation. According to the 2006 investigation report, the investigators organized the documents in alphabetical order but arranged them as they were discovered within Harry T. Moore's filing system. His filing system was based on keeping documents together in envelopes that pertain to the same subject.

The NMAAHC Archives Team kept the subject and proximal context of the materials together. To further preserve this original arrangement and sustain the collection, materials were separated by format and then by subject, keeping those with similar dates and subjects together.

Biographical / Historical:

Harry Tyson Moore was born on November 18, 1905 to Stephen John "Johnny" Moore and Rosalea "Rosa" Tyson Moore in Houston, Florida. After his father's death in 1914, Moore was sent to live with his maternal aunts in Daytona Beach, Florida. He attended Florida Normal and Industrial Memorial Institute, at the time a high school and junior college, where he graduated with a teaching degree in 1924. He immediately began his first teaching position at the segregated Monroe Elementary School in Cocoa, Florida.

Harriette Vyda Sims was born on June 19, 1902 in West Palm Beach, Florida to David and Annie Simms. Harriette was an insurance agent at Atlanta Life Insurance Company, a prominent Black-owned company, working out of Cocoa, Florida when she met Harry. Harry was also working at Atlanta Life to supplement his meager salary from teaching. Harry and Harriette married on Christmas Day in 1926. To establish themselves, the newlyweds moved in with Harriette's family in Mims, Florida. They had two daughters, Annie, born 1928, and Juanita (Evangeline), born 1930.

The couple enrolled together at the Daytona Normal Industrial Institute, later renamed the Bethune-Cookman College (BCC) after a merger of local African American schools. Harriette earned associate and bachelor's degrees in education in 1941 and 1950 respectively. Harry earned a bachelor's degree in education in 1936. Both Evangeline and Annie attended BCC as well. Annie served as an assistant to Dr. Mary McLeod Bethune.

From 1927-1936, Harry served as a teacher and eventual principal of Titusville Colored Junior High School. Harriette was a teacher and lunch lady at various elementary schools in the area. Troubled by the inequities and lack of educational resources available to African Americans, Harry started the Brevard County chapter of the National Association for the Advancement of Colored People (NAACP) in 1934. He established the organization with the help of the all-black Florida State Teacher's Association and the support of civil rights lawyer Thurgood Marshall.

In 1937, Moore was involved in a lawsuit regarding teacher pay equality. In Florida, White teachers received a monthly salary of $50 while African American teachers had a base salary of $20. This was the first civil rights case of its kind in the South. Moore's good friend John Gilbert, the principal of the junior high school, served as the plaintiff. The case, Gilbert v. Board of Public Instruction of Brevard County, was lost as many African American teachers were afraid to publicly endorse the case, fearing repercussions. This proved correct as Gilbert and Moore were both fired because of their activism. The Florida Supreme Court dismissed the petition stating that Brevard County was not legally required to change salary schedules based on pay because schools used individual contracts with the teachers. This case laid the foundation for several successful pay equality cases including McDaniel v. Board of Public Instruction in 1941 and County Teachers Association v. the Board of Public Instruction for the County of Marion and Broward in 1942.

Fighting for pay equity for teachers and educational civil rights took Harry and Harriette around the state, organizing and mobilizing community members. In 1936, the Moores took on new positions at the segregated Mims Elementary School and continued their involvement in organizing civil rights cases throughout Florida. In 1941, Harry was appointed the president of the Florida State Conference for the NAACP and later became the executive secretary for the Florida branch. In 1944, Smith v. Allwright ruled that it was unconstitutional for the Democratic Party to limit its membership to White people. This gave Harry the impetus to establish the Progressive Voters League (PVL), a partisan political action group in 1946. Harry believed that African Americans should have the power to vote for whomever is best for their community. Harry kept his work with the PVL separate from his work with the NAACP, despite his leadership role in both. Within a few years of PVL's establishment, there were 100,000 registered eligible African American voters in the state. For the first time in Florida's history, African American citizens were organized and poised to change the outcome of elections. In 1946, this work cost Harry and Harriette their positions at Mims Elementary School. Fortunately, the NAACP, grateful for all of Harry's years of voluntary service, named him the NAACP's first full-time paid executive secretary. Both daughters assisted in creating NAACP Youth Council for the chapter as well.

Harry fought against the gruesome lynching and rampant police brutality taking place in Florida. In 1937, he started investigating cases himself and took an active role in pursuing justice in several unsolved lynching cases around Florida. He regularly sent correspondence about voting rights and lynching to state legislators, the governor, congressmen and even the president. In 1949, Moore became very involved in the national case, State of Florida v. Samuel Shepherd, Walter L. Irvin, Charles Greenlee, and Ernest E. Thomas, commonly known as the Groveland Rape case. Four young African American men were accused of raping a white woman, Norma Padgett. The sheriff of the area, Willis V. McCall rallied a mob of 1,000 local men to locate the accused. Ernest Thomas was killed during pursuit after being shot 400 times by the mob. Shepherd, Irvin, and Greenlee were beaten and coerced into confessing to the crime, only Irvin refused. The trio were immediately convicted by an all-white jury. Shephard and Irvin were sentenced to death while Greenlee, a minor, was sentenced to life in prison. In 1951, Harry and the NAACP legal team appealed the case before the United States Supreme Court. The Court ruled the men were not given a fair trial and sent the case back for retrial at the lower court. In November of 1951, while transporting Shepherd and Irvin back to the county prison for the retrial, Sheriff McCall shot the handcuffed men, killing Shepherd and seriously injuring Irvin. Moore launched an aggressive campaign to have McCall removed from his position and indicted for his involvement in the deaths. He wrote letters to President Truman, the governor, congressmen and several state and county legislators about McCall and the case. Many historians believe Moore's involvement in this case led to his murder only six weeks later. In 2019, Florida Governor Ron DeSantis issued the Groveland Four a posthumous pardon.

On December 25, 1951, both Christmas and the Moore's 25th wedding anniversary, a bomb exploded under their home, directly below the Moore's bedroom. Harry died on the way to the hospital. His funeral took place on January 2, 1952 to a crowd of 3,500, according to Ebony magazine. The following day, January 3, Harriette died from the injuries she sustained in the bombing. Her funeral took place on January 8, where NAACP leader Roy Wilkins spoke eloquently about the Moores and how their work will not be forgotten. The Moores are often called the first martyrs of the 1950s Civil Rights Movement.

The world quickly took note of Harry and Harriet's murders. Newspapers around the world criticized the U.S. for its treatment of African American citizens. The murders were discussed on the floor of the United Nations and the halls of Congress. There were many investigations at the time of the bombing, but the perpetrators were not found. The case was reopened in 1978, but again no charges were filed. In 2004-2006, the investigation was again reopened and led to the conclusion that the murders were conducted by the Central Florida Klu Klux Klan. The men believed responsible were Earl J. Brooklyn, Tillman H. Belvin, Joseph N. Cox, and Edward L. Spivey. However, all the men had died by this time, therefore no one was ever charged for the Moores' murder.

Evangeline was extremely involved in the investigation and worked directly with the attorney general. By the mid-1990s, Evangeline began to take a public role in preserving the memory of her family's contributions to the Civil Rights Movement. In 1995, she helped organize the Harry T. Moore and Harriette V. Moore Homesite Development Committee, a non-profit organization that raised money for an educational site dedicated to celebrating the life and work of the Moores. In 2004, Harry T. and Harriette V. Moore Memorial Park opened, featuring a museum, the original Moore homesite, and a 12-acre park. There are annual celebrations held in the second week of December in Mims, honoring the Moore family's sacrifices for human rights. In 2015, the Florida State Senate adopted resolution SR1638, "Remembering the outstanding contributions of pioneer leaders and martyrs Harriette Vyda Simms Moore and Harry T. Moore in commemoration of the 50th Anniversary of the Voting Rights Act, etc." In October 2015, Evangeline passed away in New Carrolton, Maryland.

Historical Timeline

1902 -- Harriette V. Simms was born in West Palm Beach, Florida to David I. Simms and Annie Warren Simms.

1905 -- Harry Tyson Moore was born in Houston, Florida to Stephen John "Johnny" Moore and Rosa Tyson Moore.

1914-1916 -- Johnny Moore died. Rosa Moore sent Harry to Daytona Beach, Florida to stay with family because of financial difficulties. Harry and his maternal aunts moved to Jacksonville, Florida for better educational opportunities.

1919 -- Moore returned to Houston, Florida and began the high school program at Florida Normal and Industrial Memorial Institute. He graduated with a teaching degree in 1924.

1925 -- Harry earned his teaching certificate and immediately began teaching position at the segregated Monroe Elementary School in Cocoa, Florida.

1926 -- Harry and Harriette wed on Christmas.

1927 -- The Moore newlyweds moved in with Harriette's parents. Harry began teaching at the Titusville Colored Junior High School in Titusville, Florida.

1928 -- Annie Rosa Moore was born. In the fall, Harriette began working as a teacher at Mims Colored Elementary School in Mims, Florida.

1930 -- [Juanita] Evangeline Moore was born. Harry began taking correspondence courses at the University of Florida.

1931 -- Harry and his family move into their own home in Mims, Florida.

1934 -- Harry founded the Brevard County chapter of the National Association for the Advancement of Colored People (NAACP).

1936 -- Harry graduated from Bethune-Cookman College (BCC) with a normal degree in education. In the fall, Harry became a teacher and the principal of Mims Colored Elementary School.

1938 -- In March, Attorney S.D. McGill filed a lawsuit for pay equality with Cocoa Junior School principal John Gilbert as the plaintiff. The case was dismissed in June.

1939 -- The appeal case of Gilbert v. Board of Public Instruction of Brevard County was dismissed. The case was represented by NAACP Legal Counsel, Thurgood Marshall.

1941 -- Harry organized and served as president of the Florida State Conference of the NAACP. Harriette graduated from Bethune-Cookman College with a teaching degree.

1944 -- Harry founded the Progressive Voters League as a political partisan action group in opposition to the NAACP non-partisan stance.

1946 -- As a result of his civil rights work and activism, Harry and Harriette lost their teaching positions at Mims Elementary School.

1947 -- Evangeline enrolled in BCC. Harry became the NAACP's first fully paid executive secretary of the Brevard County chapter.

1948 -- Harriette began teaching at the Lake Park Colored School in Palm Beach County, Florida.

1950 -- Harriette graduated from BCC with a B.S. in science.

1951 -- Harry graduated with a B.A. from BCC in August. December 25: The Moore's home is firebombed. Harry passed away right before midnight.

1952 -- January 1: Funeral of Harry T. Moore. Jannuary 3: Harriette died from injuries sustained in bombing. January 8: Funeral of Harriette V. Moore. The NAACP awarded the Spingarn medal to Harry T. Moore; his mother Rosa accepted it on his behalf. Evangeline married Drapher Pagan, Sr. Drapher "Skip" Pagan, Jr. is born the following year.

1955 -- The FBI officially closed the Moore homicide investigation case.

1972 -- Annie R. Moore Hampton died suddenly and was buried in Ocala, Florida.

1978 -- The Moore case was reopened but no charges were filed.

1985 -- Creation of the Harry T. Moore Social Service Center in Titusville, Florida.

1991 -- Florida's Governor Lawton Chiles ordered the reopening of the Moores' homicide case; no charges were filed.

1993-1998 -- The Brevard County Board of County Commissioners purchased the Moore homesite to be used as a memorial to the slain couple and created The Harry T. Moore Homesite Development Committee. The Florida State Legislature awarded $700,000 for development of the 10-acre Harry T. Moore Memorial Homesite in Mims, Florida.

1999 -- Harry T. & Harriette V. Moore Memorial Homesite Historical Marker is unveiled.

2002 -- Brevard County Court Harry T. & Harriette V. Moore Justice Center opened.

2003-2004 -- An archeological survey of Moore family home led to an investigation. The Florida State Attorney General Charlie Crist reopened the Moore homicide investigation. The Harry T. and Harriette V. Moore Cultural Complex is completed.

2006 -- Attorney General Crist concluded that the perpetrators were four men from the Central Florida Klu Klux Klan. They had all died by this time, so no charges were filed.

2012-2013 -- The post office in Cocoa, Florida was renamed was named in honor of Harry T. and Harriette Moore by an Act of Congress: Public Law 112-243. Harry and Harriette were inducted in the Florida Civil Rights Hall of Fame.

2015 -- Evangeline Moore died in New Carrolton, Maryland.

2019 -- The Harry T. & Harriette V. Moore Memorial Park and Museum was added to U.S. Civil Rights Trail.

2021 -- Brevard County School Board passed a resolution acknowledging the Moore's unjust firings.

Provenance:

Acquired as a gift from Drapher "Skip" Pagan, Jr. in memory of Juanita Evangeline Moore.

The Museum acquired two personal watches, a locket, and 26 textual documents pertaining to Harry and Harriette Moore (2013.157) from Juanita Evangeline Moore in 2013. These materials are viewable via Smithsonian Collections Search. The Harry T. and Harriette V. Moore Archival Collection was acquired through a donation from the Moores' grandson, Drapher "Skip" Pagan, Jr. in 2018.

Restrictions:

The NMAAHC Archives can provide reproductions of some materials for research and educational use. Copyright and right to publicity restrictions apply and limit reproduction for other purposes.

Rights:

The copyright law of the United States (title 17, United States Code) governs the making reproductions of copyrighted material. Any reproductions of these materials are not to be used for any purpose other than research or educational use.

Topic:

Education  Search this

Civil rights  Search this

Activism  Search this

Hate crimes  Search this

Race discrimination  Search this

Resistance  Search this

Segregation  Search this

Groveland Four Trial, Groveland, Fla., 1949-1952  Search this

American South  Search this

Blacks -- Press coverage  Search this

Justice  Search this

Race relations  Search this

Social justice  Search this

Lynching  Search this

Violence  Search this

United States -- History -- 1945-1953  Search this

Suffrage  Search this

Politics  Search this

Families  Search this

Law  Search this

Associations, institutions, etc.  Search this

Genre/Form:

Correspondence

Citation:

Harry T. And Harriette V. Moore Archival Collection, 1942-1949. National Museum of African American History and Culture, Smithsonian Institution.

Identifier:

NMAAHC.A2018.12

See more items in:

The Harry T. and Harriette V. Moore Archival Collection

Archival Repository:

National Museum of African American History and Culture

GUID:

https://n2t.net/ark:/65665/io39fe77a2e-3542-4a8b-add7-006d9625fb9e

EDAN-URL:

ead_collection:sova-nmaahc-a2018-12

Choreographer:

Ailey, Alvin  Search this

Photographer:

Mitchell, Jack, 1925-2013  Search this

Dancer:

Allen, Sarita  Search this

Chaya, Masazumi  Search this

DeLavallade, Carmen , 1931-  Search this

DeLoatch, Gary, 1953-1993  Search this

Jamison, Judith  Search this

Roxas, Elizabeth  Search this

Truitte, James  Search this

Tyson, Andre  Search this

Williams, Dudley, 1938-2015  Search this

Wood, Donna, 1954-  Search this

Extent:

16 Linear feet

Type:

Collection descriptions

Archival materials

Modern dance

Dance photography.

Date:

1961-2004

Summary:

Jack Mitchell (1925- 2013) was an acclaimed photographer who began chronicling the work of the Alvin Ailey American Dance Theater in 1961. Alvin Ailey (1931- 1989), one of the most influential African American choreographers of modern dance, dedicated himself and his dance company to creating ballets that not only accelerated the careers of young African American dancers, but also stole the attention of national and international audiences in displaying the racial perspective of dance in the African American experience. This collection serves as Mitchell's documentation of the dance company's evolution while capturing the true idiosyncrasies and physicality of movement through still images. Through Alvin Ailey and Jack Mitchell's partnership, they were able to collaborate and produce a unique production of art, fusing the meaning and movements of dance and the techniques of photography.

Scope and Contents:

The Jack Mitchell Photography of Alvin Ailey American Dance Theater Collection is comprised of approximately 10,000 black and white prints of solo and ensemble acts, portraits of principle dancers and various associates of the company, color slides and transparencies for private photo sessions and performances, black and white film strips and their corresponding contact sheets, and reference materials.

Arrangement:

The material in this collection has been kept primarily at the folder level in the order that was declared by the initial owner and photographer, Jack Mitchell. Oversize prints were separated and housed in an associated series in the collection. The order of the material has been organized based on the medium of the material. Each subseries has been organized based on the following:

Series I: Black and White Prints Subseries A: Solo and Ensemble Images and Portraits were organized alphabetically by ballet name. Subseries B: Prints for Jack Mitchell Publication were organized by page number in the publication.

Series II: Color Photography Subseries A: Original Slide Boxes were organized numerically based on Jack Mitchell's label assignments. Subseries B: Color Slides were organized numerically based on subseries A's label assignments. Subseries C: Color Transparencies were organized numerically based on subseries A's label assignments.

Series III: Black and White Negatives Subseries A: Black and White Film Strips were organized chronologically by date. Subseries B: Contact Sheets were organized chronologically by date.

Series IV: Reference Material

OVERSIZE Series I: Black and White Prints were organized chronologically by date.

Biographical / Historical:

Jack Mitchell was born on September 13, 1925 in Key West, Florida. Although he was not in the field of photography, Mitchell's father bought him his first camera when Jack was a teenager. His first published photograph was of actress, Veronica Lake, for a War Bond Tour, a tour issued by the government that promoted debt securities to soldiers to finance military operations and expenditures He enlisted in the United States army and became a photographer in Italy at the end of World War II. In 1949, Ted Shawn, a dancer and choreographer who is respected among the dance community as a pioneer of American modern dance, invited Mitchell to Massachusetts photograph his dancers at his dance center, Jacobs's Pillow. It was during this time where Mitchell's interest and appreciation for moving bodies was realized. In the lifespan of his career, Mitchell created over 150 covers for Dance Magazine1, the New York Times, Time, Life, Newsweek, Rolling Stone, Vanity Fair, and Vogue.2

As Jack Mitchell started to photograph the poses and ballets of the American Ballet Theater throughout the late 1950s, Alvin Ailey saw some of Mitchell's photographs. By 1961, Mitchell had established himself as a distinguished photographer of dance, coining the term, "moving stills". His photographs became the benchmark and standard that other dance photographers measured their work. In November 1961, Ailey invited Mitchell to a performance space in Clark Center, NY, and with his dancers, they performed for Mitchell's camera; some of the photographs from that first photo session can be found in this collection.

Alvin Ailey was born on January 5, 1931 in in Rodgers, Texas, during the Great Depression. As his repertory reflected, the beginning of his life was defined by a tight-knit, predominantly African American folk culture. At age 12, Ailey and his mother, Lula Cooper, moved Los Angeles, California. It is here that he was exposed to the Ballet Russe de Monte Carlo, which led him to study under the Lester Horton Dance Theater, where he danced with Carmen DeLavallade, James Truitte, and Joyce Trisler. After 3 years of performing and training, he was positioned as a choreographer and later became the director of the company when Lester Horton suddenly died in 1953. His influence from Lester Horton, Martha Graham, and Katherine Dunham help to establish his philosophy that "Everything in dancing is style, allusion, the essence of many thoughts and feelings, the abstraction of many moments. Each movement is the sum total of moments and experiences".3 After Horton's death, Ailey went to perform at Ted Shawn's Jacob's Pillow Dance Festival, and then on to New York with his longtime schoolmate and fellow dancer, Carmen DeLavallade, to perform in the 1954 Broadway production of "House of Flowers". The Alvin Ailey American Dance Theater Company was established in 1958.

From the beginning of his journey as a dancer and choreographer, Ailey wanted to show African American experience in his performances. He embedded folk culture in his early works "Revelations" and "Blue Suites". In reflection, before his first South Asian Tour, Alvin expressed, "The cultural heritage of the American Negro is one of America's richest treasures. From his roots as a slave, the American Negro- sometimes sorrowing, sometimes jubilant but always hopeful -has touched, illuminated, and influenced the most preserved of world civilization. I and my dance theater celebrate this trembling beauty."4 "Revelations" was well- received by national and international audiences, Ailey recognized by the dance community as a choreographer with promise and his company and ballets he created were highly anticipated. By 1965, Ailey went from being a dancer to being the company's choreographer. From the onset, Ailey embraced diversity and invited interracial and interdisciplinary perspectives at of the company. He also created ballets for other notable companies including the American Ballet Theatre, Royal Danish Ballet, London Festival Ballet, the Joffrey Ballet, Paris Opera Ballet, and LaScala Opera Ballet.5 He was invited to choreograph Samuel Barber's Anthony and Cleopatra for the Metropolitan Opera at Lincoln Center in 19666, and Leonard Bernstein's Mass for the Kennedy Center for the Performing Arts in 1971.7

As the company embraced racial diversity, Ailey never lost his sense of obligation to the African American community. In 1969, he established the Alvin Ailey American Dance Center, which became the Ailey School, formed the Alvin Ailey Repertory Ensemble, and pioneered programs promoting arts in education, particularly those that benefitted deprived communities. Among his numerous distinctions were the Dance Magazine Award (1975), the NAACP Spingarn Medal (1976), given for "the highest and noblest achievement by an American Negro during the previous year or years"8 , the Samuel H. Scripps American Dance Festival Award (1987), the most prestigious award for modern dance for a lifetime contribution to the field, the Kennedy Center Award (1988) and Honorary Doctorates from Princeton University (1972)9 , Bard College (1977)10 , and Adelphi University (1977). President Barack Obama posthumously awarded Ailey the Presidential Medal of Freedom in 2014, the country's highest civilian honor, in recognition of his contributions and commitments to civil rights and dance in America.11

Through Jack Mitchell and Alvin Ailey's work, they were able to collaborate and create something "rich in historical connotations, the liveliest kind of permanent record of the works of important creators and creations that formed the nucleus of Ailey's remarkable vision of American dance and what it could be"12. Alvin Ailey's reputation for creating eclectic dance methods produced movements and poses that are still studied and idolized today. Mitchell was able to pay homage to many of the world's best dance artists from James Truitte, Carmen DeLavallade, Dudley Williams, Donna Wood, Renee Robinson, Gary DeLoatch, as well as Ailey, through his photography. With Ailey's longstanding and established stature within the dance community, and Mitchell's pronouncement of the detailed through his use of lighting in his photographs, this collection highlights the incredible collaboration between Ailey and Mitchell, and serves as a unique document of one of the world's most renowned American dance company's.

Alvin Ailey's vision for a dance company was dedicated to enriching the American modern dance heritage and preserving African American culture. In a 1989 interview with Dance Magazine, shortly before his death, Ailey discussed how he took pride in knowing that "No other company around [today] does what we do, requires the same range, and challenges both the dancers and the audience to the same degree." Ailey searched for a collaborator that would help him display the value of communicative movement; he found his match in Mitchell. Ailey's influence went beyond the stage and Jack Mitchell's images in this collection document that evolution. With Alvin Ailey's passing in 1989 at age 58 and Jack Mitchell's death in 2013 at age 88, these photographs of Alvin Ailey American Dance Theater Collection serves as one of the few sources of this dynamic dance company, from its early days to an internationally recognized troupe.

Footnotes

2. Jack Mitchell. Alvin Ailey American Dance Theater: Jack Mitchell Photographs. (Kansas City: Andrews and McMeel, 1993), viii

3. Bruce Weber, "Jack Mitchell, Photographer of the Arts, Dies at 88", The New York Times Obituaries (November 9, 2013): -- http://www.nytimes.com/2013/11/10/arts/jack-mitchell-photographer-of-the-arts-dies-at-88.html

4. Jennifer Dunning, Alvin Ailey: A Life in Dance. (New York; Addison- Wesley, 1996), 123

5. Ibid, 146.

6. Alvin Ailey, Revelations: The Autobiography of Alvin Ailey. (New York: Birch Lane, 1995), 6-7.

7. Alvin Ailey, Revelations: The Autobiography of Alvin Ailey. (New York; Birch Lane, 1995), 7.

8. Ibid.

9. Ibid.

10. Dunning, Jennifer. -- Alvin Ailey: A Life in Dance -- . (New York: Addison-Wesley, 1996), 286.

11. "Bard College Catalogue 2016-17: Honorary Degrees": -- https://www.bard.edu/catalogue/index.php?aid=1205177%26sid=670501

12. Office of the Press Secretary, "President Obama Names Recipients of the Presidential Medal of Freedom" (November 10, 2014): -- https://www.whitehouse.gov/the-press-office/2014/11/10/president-obama-names-recipients-presidential-medal-freedom

13. Jack Mitchell. Alvin Ailey American Dance Theater: Jack Mitchell Photographs. (Kansas City: Andrews and McMeel, 1993), ix.

General:

COLLECTION LIST OF FEATURED REPERTORY

After Eden, Archipelago, Been Here and Gone, Black Belt, Blues Suite, Butterfly, Caravan, Carmina Burana, Caverna Magica, Chelsea's Bells, Come and Get the Beauty of It Hot, Concert in F, Congo Tango Palace, Crossword, Cry, Dance at the Gym, District Storyville, Divining, Episodes, Escargot, Facets, Fever Swamp, Flowers, Folkdance, Fontessa and Friends, For Bird – with Love, Forgotten Time, Frames, Gazelle, Hermit Songs, Hidden Rites, Hobo Sapiens, How to Walk an Elephant, Hymn, Icarus, Journey, Jukebox for Alvin, Lament, Landscape, Mary Lou's Mass, Masekela Langage, Memoria, N. Y. Export, Op. Jazz, Night Creature, North Star, Opus McShann, Pas de Duke, Passage, Pigs 'n Fishes, Portrait of Billie, Prodigal Prince, Quintet, Rainbow 'round my Shoulder, Revelations, Rift, Roots of the Blues, Sarong Paramaribo , Satyriade, Seven Journeys, Shards, Shelter, Spectrum, Speeds, Speeds, Streams, Suite Otis, The Beloved, The Lark Ascending, The Letter, The Mooche, The River, The Road of the Phoebe Snow, The Stack-Up, The Winter in Lisbon, Three Black Kings, Tilt, Toccata, Treading, Variegations, Vespers

Separated Materials:

There were 3 inscribed copies of "Alvin Ailey American Dance Theater: Jack Mitchell Photographs" originally stored in the collection. One copy of this text can be found in Series IV: Reference Materials with the publication draft, another copy is housed in the National Museum of African American History and Culture Library, and the last copy has been designated to serve as an archival reference text.

Provenance:

Acquired from the Alvin Ailey Dance Foundation, Inc. in 2013.

Restrictions:

Collection is open for research. Access to collection materials requires an appointment.

Rights:

Jack Mitchell Photography of the Alvin Ailey American Dance Theatre Collection is jointly owned by the National Museum of African American History and Culture, Smithsonian Institution, and the Alvin Ailey Dance Foundation. Permission for commercial use or publication of the digital images may be requested from the Smithsonian Institution.

Occupation:

Dancers -- Photographs  Search this

Topic:

Alvin Ailey American Dance Theater  Search this

Choreography -- United States  Search this

Dance  Search this

Dance schools -- United States  Search this

Dance -- Production and direction  Search this

Dance companies  Search this

Dance -- North America  Search this

Genre/Form:

Modern dance -- United States -- 20th century

Dance photography.

Citation:

Photography by Jack Mitchell © Alvin Ailey Dance Foundation, Inc. and Smithsonian Institution, All rights reserved.

Sponsor:

Processing of the collection was funded by the Smithsonian Collection Information Systems IRM Funds.

Identifier:

NMAAHC.A2013.245

See more items in:

Jack Mitchell Photography of the Alvin Ailey American Dance Theater Collection

Archival Repository:

National Museum of African American History and Culture

GUID:

https://n2t.net/ark:/65665/io3812c282c-a067-45e4-9a3b-001b1c51731b

EDAN-URL:

ead_collection:sova-nmaahc-a2013-245

Collection Choreographer:

Ailey, Alvin  Search this

Collection Photographer:

Mitchell, Jack, 1925-2013  Search this

Container:

Box 2, Folder 5

Type:

Archival materials

Prints

Date:

1967

Collection Restrictions:

Collection is open for research. Access to collection materials requires an appointment.

Collection Rights:

Jack Mitchell Photography of the Alvin Ailey American Dance Theatre Collection is jointly owned by the National Museum of African American History and Culture, Smithsonian Institution, and the Alvin Ailey Dance Foundation. Permission for commercial use or publication of the digital images may be requested from the Smithsonian Institution.

Collection Citation:

Photography by Jack Mitchell © Alvin Ailey Dance Foundation, Inc. and Smithsonian Institution, All rights reserved.

Sponsor:

Processing of the collection was funded by the Smithsonian Collection Information Systems IRM Funds.

See more items in:

Jack Mitchell Photography of the Alvin Ailey American Dance Theater Collection

Jack Mitchell Photography of the Alvin Ailey American Dance Theater Collection / Series 1: Black and White Prints / 1.1: Solo and Ensemble Images and Portraits

Archival Repository:

National Museum of African American History and Culture

GUID:

https://n2t.net/ark:/65665/io39102ef06-bc85-4a47-95a3-62dd65e811be

EDAN-URL:

ead_component:sova-nmaahc-a2013-245-ref100

Collection Choreographer:

Ailey, Alvin  Search this

Collection Photographer:

Mitchell, Jack, 1925-2013  Search this

Container:

Box 2, Folder 6

Type:

Archival materials

Prints

Date:

1989

Collection Restrictions:

Collection is open for research. Access to collection materials requires an appointment.

Collection Rights:

Jack Mitchell Photography of the Alvin Ailey American Dance Theatre Collection is jointly owned by the National Museum of African American History and Culture, Smithsonian Institution, and the Alvin Ailey Dance Foundation. Permission for commercial use or publication of the digital images may be requested from the Smithsonian Institution.

Collection Citation:

Photography by Jack Mitchell © Alvin Ailey Dance Foundation, Inc. and Smithsonian Institution, All rights reserved.

Sponsor:

Processing of the collection was funded by the Smithsonian Collection Information Systems IRM Funds.

See more items in:

Jack Mitchell Photography of the Alvin Ailey American Dance Theater Collection

Jack Mitchell Photography of the Alvin Ailey American Dance Theater Collection / Series 1: Black and White Prints / 1.1: Solo and Ensemble Images and Portraits

Archival Repository:

National Museum of African American History and Culture

GUID:

https://n2t.net/ark:/65665/io33295759c-9772-4355-a006-b4da0312cb23

EDAN-URL:

ead_component:sova-nmaahc-a2013-245-ref101

Collection Choreographer:

Ailey, Alvin  Search this

Collection Photographer:

Mitchell, Jack, 1925-2013  Search this

Container:

Box 2, Folder 7

Type:

Archival materials

Prints

Date:

1967

Collection Restrictions:

Collection is open for research. Access to collection materials requires an appointment.

Collection Rights:

Jack Mitchell Photography of the Alvin Ailey American Dance Theatre Collection is jointly owned by the National Museum of African American History and Culture, Smithsonian Institution, and the Alvin Ailey Dance Foundation. Permission for commercial use or publication of the digital images may be requested from the Smithsonian Institution.

Collection Citation:

Photography by Jack Mitchell © Alvin Ailey Dance Foundation, Inc. and Smithsonian Institution, All rights reserved.

Sponsor:

Processing of the collection was funded by the Smithsonian Collection Information Systems IRM Funds.

See more items in:

Jack Mitchell Photography of the Alvin Ailey American Dance Theater Collection

Jack Mitchell Photography of the Alvin Ailey American Dance Theater Collection / Series 1: Black and White Prints / 1.1: Solo and Ensemble Images and Portraits

Archival Repository:

National Museum of African American History and Culture

GUID:

https://n2t.net/ark:/65665/io3445ae88f-8e7c-46da-9319-e79c86968123

EDAN-URL:

ead_component:sova-nmaahc-a2013-245-ref102

Collection Choreographer:

Ailey, Alvin  Search this

Collection Photographer:

Mitchell, Jack, 1925-2013  Search this

Container:

Box 2, Folder 8

Type:

Archival materials

Prints

Date:

undated

Collection Restrictions:

Collection is open for research. Access to collection materials requires an appointment.

Collection Rights:

Jack Mitchell Photography of the Alvin Ailey American Dance Theatre Collection is jointly owned by the National Museum of African American History and Culture, Smithsonian Institution, and the Alvin Ailey Dance Foundation. Permission for commercial use or publication of the digital images may be requested from the Smithsonian Institution.

Collection Citation:

Photography by Jack Mitchell © Alvin Ailey Dance Foundation, Inc. and Smithsonian Institution, All rights reserved.

Sponsor:

Processing of the collection was funded by the Smithsonian Collection Information Systems IRM Funds.

See more items in:

Jack Mitchell Photography of the Alvin Ailey American Dance Theater Collection

Jack Mitchell Photography of the Alvin Ailey American Dance Theater Collection / Series 1: Black and White Prints / 1.1: Solo and Ensemble Images and Portraits

Archival Repository:

National Museum of African American History and Culture

GUID:

https://n2t.net/ark:/65665/io3f5dc2bb8-d145-4273-98d3-8887213bd7f3

EDAN-URL:

ead_component:sova-nmaahc-a2013-245-ref103

Collection Choreographer:

Ailey, Alvin  Search this

Collection Photographer:

Mitchell, Jack, 1925-2013  Search this

Container:

Box 2, Folder 9

Type:

Archival materials

Prints

Date:

undated

Collection Restrictions:

Collection is open for research. Access to collection materials requires an appointment.

Collection Rights:

Jack Mitchell Photography of the Alvin Ailey American Dance Theatre Collection is jointly owned by the National Museum of African American History and Culture, Smithsonian Institution, and the Alvin Ailey Dance Foundation. Permission for commercial use or publication of the digital images may be requested from the Smithsonian Institution.

Collection Citation:

Photography by Jack Mitchell © Alvin Ailey Dance Foundation, Inc. and Smithsonian Institution, All rights reserved.

Sponsor:

Processing of the collection was funded by the Smithsonian Collection Information Systems IRM Funds.

See more items in:

Jack Mitchell Photography of the Alvin Ailey American Dance Theater Collection

Jack Mitchell Photography of the Alvin Ailey American Dance Theater Collection / Series 1: Black and White Prints / 1.1: Solo and Ensemble Images and Portraits

Archival Repository:

National Museum of African American History and Culture

GUID:

https://n2t.net/ark:/65665/io30f6e7e95-c1aa-43d8-95d1-62e735f44200

EDAN-URL:

ead_component:sova-nmaahc-a2013-245-ref104

Collection Choreographer:

Ailey, Alvin  Search this

Collection Photographer:

Mitchell, Jack, 1925-2013  Search this

Container:

Box 2, Folder 10

Type:

Archival materials

Prints

Date:

undated

Collection Restrictions:

Collection is open for research. Access to collection materials requires an appointment.

Collection Rights:

Jack Mitchell Photography of the Alvin Ailey American Dance Theatre Collection is jointly owned by the National Museum of African American History and Culture, Smithsonian Institution, and the Alvin Ailey Dance Foundation. Permission for commercial use or publication of the digital images may be requested from the Smithsonian Institution.

Collection Citation:

Photography by Jack Mitchell © Alvin Ailey Dance Foundation, Inc. and Smithsonian Institution, All rights reserved.

Sponsor:

Processing of the collection was funded by the Smithsonian Collection Information Systems IRM Funds.

See more items in:

Jack Mitchell Photography of the Alvin Ailey American Dance Theater Collection

Jack Mitchell Photography of the Alvin Ailey American Dance Theater Collection / Series 1: Black and White Prints / 1.1: Solo and Ensemble Images and Portraits

Archival Repository:

National Museum of African American History and Culture

GUID:

https://n2t.net/ark:/65665/io37df91500-27c6-4dd1-bd4f-036624fc9d8b

EDAN-URL:

ead_component:sova-nmaahc-a2013-245-ref105

Collection Choreographer:

Ailey, Alvin  Search this

Collection Photographer:

Mitchell, Jack, 1925-2013  Search this

Container:

Box 2, Folder 11

Type:

Archival materials

Prints

Date:

undated

Collection Restrictions:

Collection is open for research. Access to collection materials requires an appointment.

Collection Rights:

Jack Mitchell Photography of the Alvin Ailey American Dance Theatre Collection is jointly owned by the National Museum of African American History and Culture, Smithsonian Institution, and the Alvin Ailey Dance Foundation. Permission for commercial use or publication of the digital images may be requested from the Smithsonian Institution.

Collection Citation:

Photography by Jack Mitchell © Alvin Ailey Dance Foundation, Inc. and Smithsonian Institution, All rights reserved.

Sponsor:

Processing of the collection was funded by the Smithsonian Collection Information Systems IRM Funds.

See more items in:

Jack Mitchell Photography of the Alvin Ailey American Dance Theater Collection

Jack Mitchell Photography of the Alvin Ailey American Dance Theater Collection / Series 1: Black and White Prints / 1.1: Solo and Ensemble Images and Portraits

Archival Repository:

National Museum of African American History and Culture

GUID:

https://n2t.net/ark:/65665/io393da8b9f-b8ff-4756-9395-4b3b98516cf1

EDAN-URL:

ead_component:sova-nmaahc-a2013-245-ref106

Collection Choreographer:

Ailey, Alvin  Search this

Collection Photographer:

Mitchell, Jack, 1925-2013  Search this

Container:

Box 2, Folder 12

Type:

Archival materials

Prints

Date:

undated

Collection Restrictions:

Collection is open for research. Access to collection materials requires an appointment.

Collection Rights:

Jack Mitchell Photography of the Alvin Ailey American Dance Theatre Collection is jointly owned by the National Museum of African American History and Culture, Smithsonian Institution, and the Alvin Ailey Dance Foundation. Permission for commercial use or publication of the digital images may be requested from the Smithsonian Institution.

Collection Citation:

Photography by Jack Mitchell © Alvin Ailey Dance Foundation, Inc. and Smithsonian Institution, All rights reserved.

Sponsor:

Processing of the collection was funded by the Smithsonian Collection Information Systems IRM Funds.

See more items in:

Jack Mitchell Photography of the Alvin Ailey American Dance Theater Collection

Jack Mitchell Photography of the Alvin Ailey American Dance Theater Collection / Series 1: Black and White Prints / 1.1: Solo and Ensemble Images and Portraits

Archival Repository:

National Museum of African American History and Culture

GUID:

https://n2t.net/ark:/65665/io31448d52a-844e-4e8d-b216-ae0ff028b91f

EDAN-URL:

ead_component:sova-nmaahc-a2013-245-ref107

Collection Choreographer:

Ailey, Alvin  Search this

Collection Photographer:

Mitchell, Jack, 1925-2013  Search this

Container:

Box 2, Folder 13

Type:

Archival materials

Prints

Date:

undated

Collection Restrictions:

Collection is open for research. Access to collection materials requires an appointment.

Collection Rights:

Jack Mitchell Photography of the Alvin Ailey American Dance Theatre Collection is jointly owned by the National Museum of African American History and Culture, Smithsonian Institution, and the Alvin Ailey Dance Foundation. Permission for commercial use or publication of the digital images may be requested from the Smithsonian Institution.

Collection Citation:

Photography by Jack Mitchell © Alvin Ailey Dance Foundation, Inc. and Smithsonian Institution, All rights reserved.

Sponsor:

Processing of the collection was funded by the Smithsonian Collection Information Systems IRM Funds.

See more items in:

Jack Mitchell Photography of the Alvin Ailey American Dance Theater Collection

Jack Mitchell Photography of the Alvin Ailey American Dance Theater Collection / Series 1: Black and White Prints / 1.1: Solo and Ensemble Images and Portraits

Archival Repository:

National Museum of African American History and Culture

GUID:

https://n2t.net/ark:/65665/io319cb135a-019e-4a80-8974-b6d0cfb75d18

EDAN-URL:

ead_component:sova-nmaahc-a2013-245-ref108

Collection Choreographer:

Ailey, Alvin  Search this

Collection Photographer:

Mitchell, Jack, 1925-2013  Search this

Container:

Box 2, Folder 14

Type:

Archival materials

Prints

Date:

1991

Collection Restrictions:

Collection is open for research. Access to collection materials requires an appointment.

Collection Rights:

Jack Mitchell Photography of the Alvin Ailey American Dance Theatre Collection is jointly owned by the National Museum of African American History and Culture, Smithsonian Institution, and the Alvin Ailey Dance Foundation. Permission for commercial use or publication of the digital images may be requested from the Smithsonian Institution.

Collection Citation:

Photography by Jack Mitchell © Alvin Ailey Dance Foundation, Inc. and Smithsonian Institution, All rights reserved.

Sponsor:

Processing of the collection was funded by the Smithsonian Collection Information Systems IRM Funds.

See more items in:

Jack Mitchell Photography of the Alvin Ailey American Dance Theater Collection

Jack Mitchell Photography of the Alvin Ailey American Dance Theater Collection / Series 1: Black and White Prints / 1.1: Solo and Ensemble Images and Portraits

Archival Repository:

National Museum of African American History and Culture

GUID:

https://n2t.net/ark:/65665/io3d45266ad-e755-477c-afb9-f925afb0fd73

EDAN-URL:

ead_component:sova-nmaahc-a2013-245-ref109

Collection Choreographer:

Ailey, Alvin  Search this

Collection Photographer:

Mitchell, Jack, 1925-2013  Search this

Container:

Box 2, Folder 15

Type:

Archival materials

Prints

Date:

1961

Collection Restrictions:

Collection is open for research. Access to collection materials requires an appointment.

Collection Rights:

Jack Mitchell Photography of the Alvin Ailey American Dance Theatre Collection is jointly owned by the National Museum of African American History and Culture, Smithsonian Institution, and the Alvin Ailey Dance Foundation. Permission for commercial use or publication of the digital images may be requested from the Smithsonian Institution.

Collection Citation:

Photography by Jack Mitchell © Alvin Ailey Dance Foundation, Inc. and Smithsonian Institution, All rights reserved.

Sponsor:

Processing of the collection was funded by the Smithsonian Collection Information Systems IRM Funds.

See more items in:

Jack Mitchell Photography of the Alvin Ailey American Dance Theater Collection

Jack Mitchell Photography of the Alvin Ailey American Dance Theater Collection / Series 1: Black and White Prints / 1.1: Solo and Ensemble Images and Portraits

Archival Repository:

National Museum of African American History and Culture

GUID:

https://n2t.net/ark:/65665/io3487c297f-d259-484d-9af0-d7f707f980a6

EDAN-URL:

ead_component:sova-nmaahc-a2013-245-ref110

Collection Choreographer:

Ailey, Alvin  Search this

Collection Photographer:

Mitchell, Jack, 1925-2013  Search this

Container:

Box 2, Folder 16

Type:

Archival materials

Prints

Date:

1961

Collection Restrictions:

Collection is open for research. Access to collection materials requires an appointment.

Collection Rights:

Jack Mitchell Photography of the Alvin Ailey American Dance Theatre Collection is jointly owned by the National Museum of African American History and Culture, Smithsonian Institution, and the Alvin Ailey Dance Foundation. Permission for commercial use or publication of the digital images may be requested from the Smithsonian Institution.

Collection Citation:

Photography by Jack Mitchell © Alvin Ailey Dance Foundation, Inc. and Smithsonian Institution, All rights reserved.

Sponsor:

Processing of the collection was funded by the Smithsonian Collection Information Systems IRM Funds.

See more items in:

Jack Mitchell Photography of the Alvin Ailey American Dance Theater Collection

Jack Mitchell Photography of the Alvin Ailey American Dance Theater Collection / Series 1: Black and White Prints / 1.1: Solo and Ensemble Images and Portraits

Archival Repository:

National Museum of African American History and Culture

GUID:

https://n2t.net/ark:/65665/io3bc5db743-22e4-40af-9714-c2055a3eebc5

EDAN-URL:

ead_component:sova-nmaahc-a2013-245-ref111

Collection Choreographer:

Ailey, Alvin  Search this

Collection Photographer:

Mitchell, Jack, 1925-2013  Search this

Container:

Box 2, Folder 17

Type:

Archival materials

Prints

Date:

1961

Collection Restrictions:

Collection is open for research. Access to collection materials requires an appointment.

Collection Rights:

Jack Mitchell Photography of the Alvin Ailey American Dance Theatre Collection is jointly owned by the National Museum of African American History and Culture, Smithsonian Institution, and the Alvin Ailey Dance Foundation. Permission for commercial use or publication of the digital images may be requested from the Smithsonian Institution.

Collection Citation:

Photography by Jack Mitchell © Alvin Ailey Dance Foundation, Inc. and Smithsonian Institution, All rights reserved.

Sponsor:

Processing of the collection was funded by the Smithsonian Collection Information Systems IRM Funds.

See more items in:

Jack Mitchell Photography of the Alvin Ailey American Dance Theater Collection

Jack Mitchell Photography of the Alvin Ailey American Dance Theater Collection / Series 1: Black and White Prints / 1.1: Solo and Ensemble Images and Portraits

Archival Repository:

National Museum of African American History and Culture

GUID:

https://n2t.net/ark:/65665/io3293bebcc-8518-4e5c-b722-ab524e35932b

EDAN-URL:

ead_component:sova-nmaahc-a2013-245-ref112

Collection Choreographer:

Ailey, Alvin  Search this

Collection Photographer:

Mitchell, Jack, 1925-2013  Search this

Container:

Box 2, Folder 18

Type:

Archival materials

Prints

Date:

1992

Collection Restrictions:

Collection is open for research. Access to collection materials requires an appointment.

Collection Rights:

Jack Mitchell Photography of the Alvin Ailey American Dance Theatre Collection is jointly owned by the National Museum of African American History and Culture, Smithsonian Institution, and the Alvin Ailey Dance Foundation. Permission for commercial use or publication of the digital images may be requested from the Smithsonian Institution.

Collection Citation:

Photography by Jack Mitchell © Alvin Ailey Dance Foundation, Inc. and Smithsonian Institution, All rights reserved.

Sponsor:

Processing of the collection was funded by the Smithsonian Collection Information Systems IRM Funds.

See more items in:

Jack Mitchell Photography of the Alvin Ailey American Dance Theater Collection

Jack Mitchell Photography of the Alvin Ailey American Dance Theater Collection / Series 1: Black and White Prints / 1.1: Solo and Ensemble Images and Portraits

Archival Repository:

National Museum of African American History and Culture

GUID:

https://n2t.net/ark:/65665/io3da23ead7-b902-4405-ac64-252c4ac5dba7

EDAN-URL:

ead_component:sova-nmaahc-a2013-245-ref113

Collection Choreographer:

Ailey, Alvin  Search this

Collection Photographer:

Mitchell, Jack, 1925-2013  Search this

Container:

Box 2, Folder 19

Type:

Archival materials

Prints

Date:

undated

Collection Restrictions:

Collection is open for research. Access to collection materials requires an appointment.

Collection Rights:

Jack Mitchell Photography of the Alvin Ailey American Dance Theatre Collection is jointly owned by the National Museum of African American History and Culture, Smithsonian Institution, and the Alvin Ailey Dance Foundation. Permission for commercial use or publication of the digital images may be requested from the Smithsonian Institution.

Collection Citation:

Photography by Jack Mitchell © Alvin Ailey Dance Foundation, Inc. and Smithsonian Institution, All rights reserved.

Sponsor:

Processing of the collection was funded by the Smithsonian Collection Information Systems IRM Funds.

See more items in:

Jack Mitchell Photography of the Alvin Ailey American Dance Theater Collection

Jack Mitchell Photography of the Alvin Ailey American Dance Theater Collection / Series 1: Black and White Prints / 1.1: Solo and Ensemble Images and Portraits

Archival Repository:

National Museum of African American History and Culture

GUID:

https://n2t.net/ark:/65665/io3a15e6eea-895c-4d89-a061-0990a28f9a45

EDAN-URL:

ead_component:sova-nmaahc-a2013-245-ref114